Sunday, January 4, 2009

We caught up with writer Rodney Bolt, whose immensely enjoyable 2004 speculative biography, History Play: The Lives and Afterlife of Christopher Marlowe, imagines Christopher Marlowe faking his own death, escaping England, and going on to write the works we attribute to Shakespeare. Of the novel, Judith Flanders of The Spectator (UK) praises: "A triumph . . . It has both a serious remit and enough puns and anagrams to make Shakespeare (or possibly Marlowe) blush. It made me laugh out loud. And, most of all, it made me want to go back to the plays. This was a book that needed to be done perfectly or not at all. It is perfect."

Rodney was born in South Africa and was educated at Rhodes University in South Africa and Corpus Christi College, Cambridge. He is an award-winning travel writer and has also written and directed for the theatre. He presently resides in Amsterdam in the Netherlands.

Q: Rodney, thanks for taking time to chat with us. I’m curious. Did Marlowe channel you while you were at Cambridge, or is the explanation for your writing History Play a bit more conventional and rooted in perhaps your skepticism with Shakespeare biographies? And certainly you had to know you were delving into the kind of territory that unsettles a lot of Shakespeare lovers and that you were perhaps placing yourself in the middle of some academic crossfire.

Rodney: At Cambridge, I studied English at Marlowe’s old college – so I guess he was always a presence looking over my shoulder. Perhaps, unconsciously, that was where it all began. Certainly, while I was writing History Play I was aware of wanting his ghost’s approval. More than that of living academics. I realized that what I was doing was going to create quite some huffing and puffing – though in the end, I was surprised at how few howls of anger there were. But this awareness did mean that History Play had to be absolutely watertight in its play with historical fact – if Marlowe and Montaigne have a conversation, it has to be completely possible that they were both in that place at the time; the plot that Marlowe becomes embroiled in (which leads to his staged death) is a real one, and his involvement perfectly feasible: that sort of thing. (For that reason, The Spectator review you quote is quite my favourite.)

But as you suggest, the main impetus for writing the book was indeed a scepticism about Shakespearean biography as a whole. We have just so many facts about Shakespeare. Those and no more. Every single Shakespearean biography there is has only this handful of hard fact to work with – the rest is speculation and (though authors generally deny they are doing it) extrapolation from the works themselves. One of my favourite quotes unearthed during research was Mark Twain’s, likening writing a biography of Shakespeare to reconstructing the skeleton of a brontosaurus, using "nine bones and six hundred barrels of plaster of Paris." I wanted to throw those old bones in the air, and let them land in a different pattern. To show that, using the same method, you could create an entirely different story. So I am not a true Marlovian, in the sense that History Play is a work of fiction (although it looks and reads like a straight biography). I’m probably closer to the people who in the UK recently signed a Declaration of Reasonable Doubt about William Shakespeare. The deeper I got into the research, the more sceptical I became – and certainly, for me, Marlowe is the most feasible candidate for an alternative authorship.

Q: Of all the things you uncovered in your impressively detailed research (many of the characters and events mentioned in History Play, by the way, have been discussed here at our blog), is there any one thing that really floored you about Marlowe, Shakespeare, a shadowy figure, or perhaps some historical incident? Any eureka moments, perhaps?

Rodney: The discovery that absolutely fascinated me was that there were troupes of English players travelling through continental Europe, hugely popular for performing in English. This struck me as an ideal cover for a spy, given the mobility of players. A poet-player (especially a university man like Marlowe) would have access both to servant’s gossip, and to the lords themselves (more often as not when they were drunk and relaxed after a meal), as well as a jester’s immunity in crossing borders (both social and political). And indeed, the same troupes performed for both sides in the war between the Spanish and the Dutch (a war in which England had a crucial role, and from which Queen Elizabeth’s court would be most desirous of inside information). This discovery was made even more exciting by my realization that Marlowe’s mysterious absences from Cambridge, doing "her majesty good service" in "matters touching the benefit of his Country" coincided with the players’ prime touring season. It also makes sense that high-action dramas such as Tamburlaine were written with one eye on a non-English-speaking audience . . . and there was a troupe present at the festivities surrounding the inauguration of Kronborg Castle at Elsinore (Kronborg’s topography bears a startling resemblance to that of the castle in Hamlet), a troupe that included the Shakespearean clown Will Kempe.

Q: I need to ask you about Roland Barthes’s “death of the author” argument. Should an author’s identity matter when we’re interpreting a text?

Rodney: For me, the plays written by (or attributed to) Shakespeare are unassailable. Having worked with them practically (as a theatre director) as well as academically, I stand in awe . . . and it does not matter one jot who wrote them. So, in that sense perhaps, I’m with Barthes. But with works so great, one cannot help but be intrigued to find out more about the hand behind them. I can be very cynical about academics who claim that you cannot move from the works to information about the author – and then go right ahead and do so, to fill out the pages of a biography that would be naked without such speculation. And I find the whole industry that surrounds the man Shakespeare – up there with Queen Victoria and Churchill as great national symbols, an icon subject to extraordinarily lucrative commercial, tourist and academic exploitation – most offensive.

Q: Care to clue us in on what you’re working on now?

Rodney: I’ve moved to the late-Victorian/early-Edwardian period for a (true) book about the Benson family – the spouse and offspring of an Archbishop of Canterbury. When the domineering, stuffy archbishop died, his wife changed her name from Mary to Ben, and took one Lucy Tait into her bed. Her brood were all famous in their own right (E.F. Benson for his Mapp and Lucia books, Arthur as the author of England’s unofficial national anthem "Land of Hope and Glory," Maggie for her archaeological excavations in Egypt, and more). They knew everyone, from Queen Victoria to Oscar Wilde, and not one of them (to use the idiom of the time) was "the marrying sort."

Q: Rodney, many thanks for sharing some thoughts with our audience. Please join us again, we hope? We’ll do lunch in downtown Sarasota when you’re on the Gulf Coast of Florida.

13 comments:

glad you posted this; History Play is one of the cleverest books I've ever read-and it is very, very clever! It should get us all thinking about Shakespeare biographies that are-at the core-mostly speculation!

I remember getting History Play from Amazon while at work. Ok, I'll give it the tiniest of peeks, I said, and then read through it in one sitting (if you count at work, on my way home, and the whole night as one sitting), because it was just too brilliant to put down.

The blog is closed

Ted Hughes, British Poet Laureate (1984-1998)

"The way to really develop as a writer is to make yourself a political outcast, so that you have to live in secret. This is how Marlowe developed into Shakespeare."

Letters of Ted Hughes, ed. Christopher Reid, Faber 2007, p.120

Welcome to MSC: the Web's #1 Blog on Christopher Marlowe

We kicked off in May 2008. We're a blog dedicated to the brilliant Elizabethan playwright Christopher Marlowe. Yes, we believe he could have authored many of the Shakespeare works, and so we offer up hearty servings of delicious intrigue. Thanks for visiting!

THE MARLOWE-AS-SHAKESPEARE CONSPIRACY LAID OUT FOR YOU!

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THE POWER OF US: KIT Marlowe Up, Earl of Oxford Down

"Meanwhile, the authorship debate shows no signs of fading away. Francis Bacon's star has waned, eclipsed long ago by the Earl of Oxford's. Now Christopher Marlowe's star is on the rise. 'It looks like there's a shelf life to every candidate' of about 75 or 80 years, Shapiro says. 'There's a lot more energy and enthusiasm behind Marlowe.'"

Christopher Marlowe - prodigy, successful playwright/poet, and pretty darn good spy for Queen Elizabeth - lands himself in the kind of hot water that may send him to the gallows. His powerful handlers in espionage, concerned about saving their talented agent, decide to fake his death and send him away. Marlowe, in hiding, continues to write plays and poems. William Shakespeare agrees to be the frontman for these works.

"perfect"

From Amazon: "Rodney Bolt’s book is not an attempt to prove that, rather than dying at 29 in a tavern brawl, Christopher Marlowe staged his own death, fled to Europe, and went on to write the work attributed to Shakespeare. Instead, it takes that as the starting point for a playful and brilliantly written 'fake biography' of Marlowe, which turns out to be a life of the Bard as well." The Spectator praises: "A triumph...perfect." Click the pic to purchase! And click here for our interview with Rodney Bolt!

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Wonder who wrote Shakespeare? Mike Rubbo's Much Ado About Something makes a compelling case that it was Marlowe. As seen on PBS Frontline and now on DVD. Elvis Mitchell of the New York Times praises: " . . . an inviting piece of film . . . Much Ado About Something is a film of ideas - well, notions, anyway - that are bound to stimulate discussion, an aspect long missing from documentary." Click the pic to purchase! (or rent it today on Netflix!) Click here for our print interview with Mike Rubbo, click here for our video interview. Click here for an 8-minute preview of the film. Click here for a Tampa Tribune feature about Mike Rubbo.

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